Midweek Mention... The Third Man

Third Mad

Sidey: We're doing the midweek mentioned, which is the third man was straight in. Boom. Third man.

Dan: I really love this film. There is cards on the table.

I hope you guys do too. I made some notes because people might not have seen this. It's an old one.

Sidey: It came out in 1949.

Dan: this was

Sidey: Did you see it on the opening night, Dan?

Dan: There it is. Okay. The, the early blows start now. Yeah I love these old black and white films and Orson Welles in this makes one of the most iconic entries into any film of that era in that genre.

But if you haven't seen it, what's this about, let me tell ya. I could just wing it, but I did make some notes, so it seems worth the, to find them

Sidey: Well, we're straight away. We're in Vienna.

Post-war Vienna.

Dan: Yeah. That's that's where my notes

Sidey: The city, the city has been divided up into four.

Dan: Exactly

Sidey: if you'd like.

Dan: And we have a guy called Holly Martins arrives into this sector where a shortage of supplies is led to a flourishing black market.

And you kind of see that in the opening scenes, there's a body

Sidey: Yeah I liked that bit. Cause they say they say, oh, you know, there's the rise of the bootlegging. He goes, there's always new entrance to the market, but some of them don't stay the course and you just see this dead body floating in the water.

Dan: setting the scene.

There is a rough town is a rough place, you know, it's burned out buildings and people trying to make a living best way they can. So he arrives Holly Martin arrives at the invitation of an ex school friend. Harry lime has offered him a job only discovered Lyme is recently died in a peculiar traffic accident.

Pete: So it's worth saying Holly is an American guy and Harry lime was obviously American because he's gone to see his old school friend.

Dan: Exactly. Yeah. And that they find themselves in post-war Vienna trying to make a living, you know, trying to duck and dive a little bit. But from talking to and friends and associates, Martin soon realized that some of the stories inconsistent and determines to discover what really happened to Harry lime.

So he meets in that first. 10 minutes or so 15 minutes, a few different characters. And this field were characters in, in this that you remember through their performances. And just through the way that they've been written into the story and he meets the girl who's Anna

Pete: Schmidt.

Dan: Yeah. Who's absolutely beside herself in love and broken hearted that harried limes dead.

And then there's a few other characters around. So so far so good.

Sidey: They say the name of the movie and this one, which I always like that when they do that, because they saw it. I'm trying to piece together the, the, in the accident, the incident, however you want to describe it.

so-and-so, they carried the body. And then the doctor was there and I said, oh, that was the third man.

Dan: This is one of those inconsistencies. Isn't it. As Holly Martins is trying to find out who and how how are we lying died. It's a traffic accident right outside. And Interviewing he finds, there was a third man. There was a doctor, his best friend who happened to be wandering by.

And and then a third

Pete: well, the two, the two guys are this jerk, this Austrian character, Barron Kurtz, and a Romanian guy called Paul Pez.

They're the two guys aren't

Sidey: He went on to play for spurs many years later. Yeah,

Pete: I'm Barcelona as well. Yeah. But the, so they were the two guys, the doctor, I think you hear through anecdotes from

Dan: Dr.

Pete: Dr. Winkle or vinca as he keeps correcting people. He just happens to be passing the person who is allegedly not how reliable. Causing his, his death was his own driver.

Yeah. So lot of

Dan: it was funny Wasn't

Pete: too convenient and yeah. Holly is onto the fact that this could in fact be there's more to it than, than meets the eye. Yeah.

Reegs: Hey Holly, what's his job is he, is that sort of irrelevant?

Dan: No, he's a, he's a pulp. Yeah. He's a, like a pulp fiction writer. So he wrote, he writes these trash novels. He writes these kind of

Sidey: they're all westerns.

Dan: Yeah. You know, monthly westerns.

Pete: gets

to cause originally when he realizes Harry limes, daddy just wants to, you know, about turning chuff off. Then when he, and there's a guy who's at the, I can't remember exactly as somebody who wants him to stay and even invites to put him up because he recognizes him.

There's a famous writer

Sidey: he's is that the minister of propaganda and he he's he's actually dropped out was the reeducation of it was literally like just brainwashing people and they wants to use his trashy pulp, you know, novels to like bring this Western sort of whatever in the Western end.

But this Americans eyes version of their way of life.

Pete: So,

he, so Holly eventually went in when things don't start sort of not stacking up.

He sees an opportunity to be able to sort of. You know the invitation of somebody else so that he can further investigate that what the death of his friend, which seems fishy.

Dan: which is already is backed up a little bit, because he's met the the, the army guy

Sidey: Calloway

Dan: And Callaway has told him, Harry lime actually has been in some bad shit.

How are we lying? Was watering down penicillin, giving it to

Sidey: Yeah this is not, I'm just bootleg and cigarettes and booze. This is like medicinal.

Reegs: That's pretty bad.

Dan: Yeah. Yeah, no. How, how are we lying? There's a whole

Reegs: like is fine with your Coke or whatever.

it down. Bit of

Dan: but penicillin to kids. Yeah. It's

Reegs: penicillin.

Pete: Yeah. They're talking about deaths and deformities as a result

Sidey: The lucky ones died.

Pete: yeah, yeah. Yeah. Oh, and they're talking about children losing their minds, even. I mean, later on, he goes to a hospital doesn't

Sidey: it? That's the final way that they

Dan: imagine

post-war Vienna. There's a lot of need for penicillin. There's not enough going out to people. So if somebody can. Buy in, you know, 50 vouchers of it and give you back 75, then you're making a lot of money. So Harry, it decided there was a few quid to be made and, and went and tried to make the money this way.

So when he's dead, there's a lot of people that aren't missing him and glad sad that he's dead. Obviously the story goes on. We, we realize that Anna is besotted in love with him because she's a check go. Who's going to be handed over to the Russians, but Harry's.

Forge her papers. He can do no wrong in her eyes.

And she's absolutely faithful to that. Whatever happens, whatever is done, it doesn't

Reegs: We don't see Harry lime in the movie.

We,

Dan: you see him after about an hour,

Sidey: hour, one minute. I checked when he, when he appeared it was one hour, one minute.

Reegs: Yeah

Dan: So he he's

Pete: the

fact that you said that means that,

Reegs: oh, I haven't seen it. No,

Dan: you

Pete: you didn't see it.

Reegs: I didn't get around to it. Unfortunately,

it's a

Dan: it's a showing because it is a really, really great atmospheric movie.

And the the part that gives away Harry lime to the, at least to the viewer is one of the most, as I say, famous, iconic moments up until that point in a Hollywood where the cat who

Reegs: yeah, I've seen this scene before. lots of times.

Yeah.

I mean, I

Dan: The cat will only. Go and sort of Meow and rub against Harry Lyme's feet and his legs. And that's why when Holly Martin comes up, the cat scalpers, but in a doorway in the streets

Sidey: someone turns a light on someone turns the light on, and then you see it, you know, it's like a fucking spotlight on them and he looks up and then it's almost,

Pete: smirk. He he's like he's kind of smoking is. Yeah. I mean, I, I've never seen that moment in, in, in all my years. Never seen, never seen. Didn't really know. I was actually thinking at this point, like awesome Wells. I wouldn't necessarily have been immediately recognizable to me as an actor, but Harry lime, I, I kind of knew that Harry lime featured.

A person in the film, but I'm thinking, okay, this it, then I started second guessing that maybe it wasn't or wasn't as it seemed. And then you get the reveal. So I think it had the desired effect on me because while it started kind of guests that, you know, the, the death, this it's fishy and maybe it's been a fate death and so on, it was, it was a big reveal.

And like, I think I could imagine at the time it would have been a big kind of like, wow moment in

Reegs: like the sixth sense, like a huge

twist that everybody's talking

Dan: probably, probably, you know, and it's a famous still you to put, you know, just that light shining on to awesome.

Well, his face

Sidey: He does. He does have that kind of smoke. You're right. It's not like, oh shit. You've got me. He's a bit like, well, you got me, man. I'm fucking going to carry on being a card.

Pete: here I am. But I think at this point, He's presumably obviously he's trying to keep her as low profile as possible. Cause he faked his own death, but he is invited. He still invited it. He must've known, he really wanted to focus on death and he's still invited this guy over, presumably to give his mate from backend school, like a cut of the action that, that he's in.

In Vietnam. I wasn't really

Sidey: was still, yeah, I'm still not.

Pete: kind of came about, but I don't think it, I, I didn't take it at that point as like, oh, like it now, like acknowledging to Holly. Oh, this is the chase. And now you've seen a glimpse of me you're onto me. And are you going to chase me? I think he probably wanted to reveal himself to Holly to say, look, I actually, I'm alive.

Let's catch up. And I'll tell you because the next scene that when he does catch up with him, eventually they go on the big Ferris wheel thing. He starts telling him, this is what I'm into. This is what I've been doing. And do you want a slice of the action?

Dan: Yeah. And it's he can't see, we, we find out how just evil that he can't, he can't see how bad ha

Pete: what he's lost. His he's just lost his morals and scruples as an

Sidey: evil, evil, what he's doing is evil, but he just sees it as transactional. Um uh

Reegs: Watering down penicillin.

for children.

Sidey: Well, he doesn't care where it goes. He's just going to do it, but he's is

Reegs: judgey, isn't it? But

Sidey: He's a really character because he is so charismatic and you get that from the cat. You get that with. She is so in love with them, even though she knows what he's up to, he, he's not going out there giving it directly to them.

But he knows what he's doing is wrong, but he's just very suave and he, you know, he's dressed and he, but when he does the speech on the Ferris wheel, you get, you get a sense of, he just doesn't give a

Pete: fuck

Sidey: life. He's there up at the very top of the Ferris wheel. And he says, and he just calls him old charming boy. And he's just look at those, all those people, all those little dots like there, I mean, would it really matter if you just, you know, if they just stopped forever?

Reegs: Wow.

Pete: Quite,

Reegs: a psycho

Pete: yeah, quite so powerful and chilling and surprising to me. I mean, we'll come on to it more at the end, but I don't think of other than maybe the wizard of Oz and some other things possibly just in passing, I've never really gone back to like this era or before, or even just after that in the fifties and so on.

I've never really explored cinema or films from, from that era. And it was actually quite surprising to me how. No, I dunno, like how edgy and sort of, yeah. How like the, the content was,

Reegs: wages are fair was like that for

me as well. I think that was a bit later, wasn't it?

Pete: I think possibly possibly like growing up if there was something that was on and it was black and white and my grandparents were watching, I'll be like, it's black and white.

It must be rubbish. That was kind of like my Mo my mentality. I think I probably have subsequently thought, well, older films, they're going to be. They can all be a bit kind of like dumbed down and tweet and you know, love stories. And it's not going to be like huge stakes and stuff. Like you get with modern cinema and so on, but this has it all like relative.

And in context to its time, it is obviously a fantastic film

Sidey: he tries to

Dan: shot as well.

Sidey: when they get off the Ferris wheel, they are, this is clearly, you know,

Joseph Cotton is not a Holly Martin.

Sorry. Into it. And he tries to justify himself by saying, look in Italy. They had 30 years under the boarders, they had warfare terror, murder, and bloodshed, and they produce Michael Angelo, Leonardo DaVinci, and the Renaissance in Switzerland. They had brotherly love 500 years of democracy and peace. And what did they produce?

The cookoo clock. And then he just fucking goes off. It's like, there, there you go. It's it's true.

Reegs: it's like whiplash, isn't it? It's the same theory. that he's got.

Dan: with the writing Graham Greene wrote there. So Graham green was actually worked for British intelligence and was in and around the time of Kim Philby, which is one of the, the Oxford or Cambridge for that, you know, or the spy ring. So he was very much always tied up in this world anyways.

And I think there, the director also had some kind of intelligence experience, so they were gonna make a great film with those insights.

Pete: I mean, this is what, four years after the second world war finished. So all of these people, like majority of them would have been involved to some extent, and then they're using their real life experiences to bring, you know, like to create a piece of art.

Reegs: So just to close this out here, so what happens when they all find out he faked his death and he's still alive?

Sidey: It becomes, everyone knows that he's around and he's still reluctant to turn him in. He, they, the, the authorities know they can use him as leverage to get him to meet and then they can sweep it and catch Harry lime.

So major,

Pete: Sorry Sorry to interrupt. But it kind of like flips because for the first half of the film,

Holly Martins, trying to get people to talk about or investigate something that they all think has done. Like, so his cronies, like Baron, Kurtz, and Popescu they're in on it and that, and Winkle they're all in on it and they don't want to talk about it too, too much.

Dan: about their faces? Those guys you could see straight away. I mean, these, these were really characters of the underworld. You could tell from

Pete: twiddling them and stashes, but they were, yeah. You could see that they had like, you know, more, more sort of stories to tell, but then, but then

Dan: He was like, oh, he never trust him.

Pete: he says, because Martin's is trying to get Callaway to, to look into it or, or maybe it's the police.

I can't remember which one it is, but they just say, listen, E's are wrong and he's dead. I don't care if he got run over by a car or whatever, as long as he's doing. That's good for us. We're not touching this again. We're not opening up the case. Like that gets good riddance kind of thing. So the point where eventually Holly, Martin's kind of, well, because of the reveal and all of the evidence that he's been putting together, he then gets everyone sort of back onside to say, look, this, this guy is still alive.

What are we going to do now about it?

Sidey:  They range of me. first he bottles it. He goes back on it. It says, now I can't do it. And they said, right, well, we'll take you to the airport and you can fuck off back

Dan: he shares this info with the girl as well. So she's in the know and doesn't want him to do it obviously. And he says, he's not because he's in love with her as well. He's falling in love with her.

Sidey: got no chance.

So major categories, right? Okay. Well, we'll send you back to the airport and you can get out of town and just forget all this nonsense and, and on the waste as well. I've just, we just need to call in to this hospital and he shows them all these kids in the asylum and all the, the ICU or wherever is of all these kids.

They've had the penicillin and the, you see his face, look it into the. Cribs and whatever. And

Reegs: they were quite brutal in those days as well. They would show like, did they show

Sidey: No They only showed his reaction to looking at it and you see, he's like, okay, this guy's got a gun. We can't, this is not okay.

So he, they do arrange them. The Anna comes in, she was supposed to have gone as well, but she comes in and says, how can you fucking do this to him? You know, you're gonna have this meeting. And he just, then Harry's opens the door for the meeting. And she said, and you're going to tell him into the police.

And he goes, fuck up and done, pulls a gun out and it all fucking kicks off.

Dan: And that they will then start this huge kind of scene in the sewers of Vienna where Harry lime has you know, it's a mirror

Reegs: big

Dan: He's, he's a, he's a rat down

Pete: presumably he's got this, he got knowledge. He's presumably been hiding out. Yeah. He's been hiding out in, in this, like the, you know, like the suit.

So is that dry? Yeah, they're dry.

Like, you know, they have their big spacious, lot of light, you know, water running around and he knows these kind of like network of tunnels and ladders and everything. Yeah. Move around

Sidey: This is really great though, because the way it's all shot, you know, the lighting, you get all these sort of shadows running around and it's a real labyrinth and he's

Reegs: I've seen so much of this film in clips and it, by reference

Dan: yeah some brilliant shadows when he's waiting for at one point to see it, and there's a guy with bloons, he comes around the corner and he looks like he's an absolute giant, like, you know, and it's just this guy with her.

And so they, they do a lot of the time, Carol Reed, the director of their shot out angles and

Sidey: It's the Dutch, Dutch, rudder. Yeah. There's lots of Dutch Rodriguez in this film.

Reegs: The

askew Shaw, isn't it? Yeah.

Pete: Yeah. But stuff like you say, like the balloons is this other. You know, the plot is not a plot device. It's nothing like that, but it's just to kind of like it's building.

Reegs: like misdirection and texture and detail.

Pete: it. And then in the end, like one of the British guys who's with Callaway just goes off and buys a balloon off the guy to get him

Sidey: check. And I was that guy

Pete: was it bar

Sidey: bonds. Yes. M yes.

Pete: oh, wow.

Sidey: I've got a good bond stat for you. About that pause dah, dah, dah, dah, dah. So he is Bernard Lee. He played em in the first 11 bond films including Dr.

No Moonraker, Robert Brown. He was a military policeman in the sewer chase, succeeded him in the role in Octopussy fetal care, living daylights and license to kill to the best bond films there, incidentally,

Dan: And they got interested and, you know Joseph Cotton who played Holly Martins was good friends. Who awesome. Where was he was in citizen Kane before?

I think they had the early days of radio production. They, they did a bit as well, probably. Yeah. If you ever get chance, they're there on the internet, the Harry lime radio episodes and things. They're fantastic. And if you think this is quite dark and edgy, as you say, there's one where he's each pedaling, a load of heroin over in Tunisia and stuff.

There's another one

Pete: So we'll he like a, his character? Is he like, like an anti hero? You met her like warm to em or

Sidey: weird. Cause he is very charismatic in this film, but he's. Yeah, flat

Pete: Yeah. Yeah. Like I don't, I didn't really see it

right.

Dan: April when it suits him. And he's, he's, you know, people will they'll open doors for him because Harry's always done him a solid he's always been good to him.

And there's other people that he's, you know, they're in prison or they're dead, or, you know, they're, they're, they're robbed blind because of him and the, the adventures of Harry lime in it. They're fantastic. It gives you.

Pete: sort of

Dan: more this character, if you

Reegs: and this movie, the,

way it was shot it's themes and stuff has influenced so much that came after it.

One of the movies that I might end up talking about in the Main episode. Middle is crossing. I use a lot to the third man.

Dan: so, I mean, we were in the sewers and he's running out of options. He's running out of spaces to go the police on him. I think it's all quadrants now are kind of calling in favors as well because he can get it.

I think he's got pretty much free run in the, in the rush. Quadrant. But the, the French, the British on the American side, all closing in on the net and he, there's no way out. And it

Sidey: ah, so close,

Dan: so

Sidey: He shoots majorly as it. And Callaway gets him. Injured him returning fire and he crawls his way to they've got these sort of silver, great sinners.

He sort of can get out.

Pete: Holly

Sidey: takes the gun and goes after him. And you just waiting to hear and Callaway to shout sound. Don't fucking take a chance with didn't swear. He says, don't take any chances. If you see him shoot him. And then you're the, camera's still on Callaway and the dead police officer. And you hear a gunshot and you think, Hmm.

Pretty much knows it's not going to be Harry like making it cause he was already badly wounded and he walks back and then you get your back to the funeral. Then as this time it's for real,

Pete: So at this point, V I D I was engrossed in this film and I didn't, I wasn't time check-in or anything like that. I didn't know how long had gone. How long was that? At this point a bit of me, cause you don't see the shooting.

And obviously because of years of watching things, where if you don't see the death on the screen, then there's a strong possibility. It hasn't happened. I was thinking maybe, and I didn't know how they would do it if they were going to do it,

Dan: he's talked his way out of it.

Pete: sort of say to her. You know, you're an old friends, I'm not going to kill you, but get the fuck out of this city.

And I never want to see you again and stuff. And then the, and then the second funeral would have been a fake. And

Reegs: but

it's not, not it's a

definite no. to

Pete: Well, we assume so. Cause you don't see much beyond the second funeral and I don't know what stories

Dan: I would assume that

Reegs: is the law of Hollywood screenwriting, like you said, If you haven't seen it happen on the screen, then it might not have

happened

Dan: never made another off to it. So you assume

Reegs: But the character, the character, though, Harry lime appears in other stories doesn't he

Dan: after this. I dunno whether this killed him off or they talked about it afterwards. I, I honestly don't know that maybe it was such a strong character. I think there was certainly call for him to come back, but awesome. Wells was one those

Sidey: well, yeah, and he worked a week on this.

Dan: yeah. Yeah.

Sidey: He Holly though, he just wants to make his feelings known after the funeral. So he gets out of the car, they're driving him again to the airport and he says, just let me out here.

And it's this big, long, straight sort of tree-lined road. And Anna's walking away from the funeral and he's just waiting at the side of the road.

Pete: It's a long, long walk up.

Sidey: exaggerated almost. And he. Standing there waiting. And she walks past, she smoking a cigarette and she just sort of flicks in the floor and doesn't even look at him.

And what was passed

Reegs: wow,

Pete: that's, that's the end of the film. And again, I'd love that ending because something I've said in the past about like Hollywood films and the guy always gets the gal, he's the good guy and it, you know, it, I'm so glad she didn't start, you know, not because,

Reegs: well, because that's what real life is.

like

Dan: Yeah, she was, she was totally, totally in love with Harry and he's dead. He's had a massive part of it wherever she knows that he killed it.

There's no chance she would never ever be with him. And he, he was still thinking, maybe along those lines, I might

Sidey: oh, he was thinking of is, is trashy pulp fiction novels. That's out of my worked out, but not in, not in

Dan: real

Pete: Yeah. Yeah. Cause he gets Callaway to drop him out. Like he's on his way to the airport and he gets Callaway to drop him

Sidey: off. What are you

Pete: he's like, mate, mate, you've got no chance. Yeah.

Sidey: And the Vienna police department, interestingly to me have a special unit that has assigned solely to patrol the sewers of that. And they, the, the people in the film where that police department, they are that well known by crims for a good getaway season that they have to have police.

Reegs: So two things that strike me while listening to you guys talk about it.

One, have you, or would you consider faking your own.

death?

Pete: Yup

Sidey: Yeah.

Reegs: Yeah.

Just straight away.

Pete: Get away. Start a new life somewhere else.

Yeah.

Sidey: get some papers done?

Pete: Is this a genuine offer that you're making to her?

Reegs: Just, just, just

Sidey: interested.

Reegs: Oh wait, this sounds like a fucking ass.

done it? and I think it'll get cool.

Sidey: I don't think anyone read that bullet about finding me

Reegs: Yeah, that's true.

Pete: know if you go somewhere really cool. I want to know where that is so I can come

Reegs: once the insurance is paid up.

Sidey: We should mention the music because that is a very iconic

Pete: okay. Again, familiar with that music. Heard it before I was humming it around work today. Never knew it was anything to do with the film. Never knew what it was from, but I've heard it.

Dan: Yeah. Anton Caris.

And , I'm not a, a massively popular instrument after this album or this but at the

Pete: like a

Reegs: until safety,

Dan: this. Yeah, I think so some kind of electronic sounding thing, isn't it

Sidey: it looked like it had a lot of strings on it cause they show the instrument

Pete: at the beginning. Yeah.

Sidey: The thing to learn

Dan: and and had heard that in some cafe Carol read and decided that was the music and Graham green had put together all the right.

And apart from that cookoo clock line, that was awesome. Well he said, oh yeah, I'll put in this bit. That's how

Reegs: I look forward to the inevitable Hollywood remake starring say Taylor, Lautner

Sidey: well it was the, when they released it from American audience, they did have to put it.

Dan: They, do every makeup?

Sidey: not a remake, but, but it was released in America. They had to take out the narration and start.

I think they lost 12 minutes out of the runtime for all the stuff they'd take out and redo it. Fucking

bizarre

Pete: was your second question? Rakes.

Reegs: if you were going to cast it again, who would you cast now?

Pete: Nicholas.

Sidey: Hey, who's the guy. No,

Dan: potentially, potentially, if you were going to go

Sidey: LA LA land. Who's Ryan Gosling as Harry line

Reegs: strongly

Dan: potentially I was going to say DiCaprio might be he's. Got

Reegs: Okay. I know, I know where with I've got

a

Sidey: but as Holly Martin's cause Holly Martin's is kind of a bit

Reegs: a dish. Jason

Sidey: a nightmare, man. Yeah. I could see that where there's mainly comedic. There's not really some

Pete: It's strange because he's in the film so much. He's almost in every scene. He may be in a light and yet he's not the main,

Sidey: he's not the hero.

Pete: He's not the hero. the main guy.

Dan: dominate this film both before they're in it. And after they're in

Pete: it

Dan: before they're in an issue, you just waiting to see how he he's all the talks about how he builds up Harry, and then you see

Sidey: It's such a shame what happened to awesome. I was thinking like citizen Kane and this, and then you see like the fucking adverts he was doing at the end of his life.

Just fucking like what the fuck is goes. This was the best of the best.

That was strong on that. To be fair.

Dan: Yeah. I think lots of actors though, have lots of good and bad

Sidey: Yeah. Unicorns are great.

Reegs: Yeah.

He's going to go on

Dan: go on unicorns.

Pete: I've got one more bit of interesting.

Sidey: Is it the amount of drugs the director of the producers are doing?

Pete: and it should know. Okay. So there is another character in cinematic history called Harry lime. Does anyone know where.

Reegs: is

going? No, I don't

Pete: totally unrelated. Yeah.

Sidey: If you're in home alone, I'm going to fucking lose

Pete: It's the name of the character that Joe Peshy plays in home alone.

Reegs: Nice.

Pete: A hundred percent. Yeah.

I thought, I honestly thought that you might have known this done in that this was a big trolling of society, but Joe Peshy, his character, Harry loam. Thank you.

Sidey: But I'll put 1%, but the director, the director, Carol Reed, and the producer, David Selznick, we're doing a shit load of speed. I fucking shitload. And they were working like 22

Dan: benzos in those

Sidey: Deck syndrome.

Dan: Extra

Reegs: Well, you needed some downers because

Dan: uppers,

Reegs: he would just up all the time. Yeah.

Dan: Yeah. Harry line would have sorted them out.

Pete: Thank you for vote and nominate in there. Stan. I'd never would have watched it ever because it's old and way before this was made before my parents were born.

It starts that like that. No, no connectional or relation to it, but I'm really glad I watched it.

Dan: Excellent.